Art Fix Friday: February 18, 2022

Blog Category:  Art Fix Friday
A black-and-white photograph of a light-skinned adult woman holding a newspaper with news about World War II. She wears a coat and her short, curly hair is caught in the wind.

The Glenstone Museum in Potomac, Maryland, has acquired an eight-work set of watercolors by Hilma af Klint from David Zwirner, making it the first institution in the U.S. to own work by the Swedish artist. The “Tree of Knowledge” (1913–15) series features a central tree element that appears to evolve in form across each watercolor—at times unrecognizable as a plant, an orb, and a machine.

An abstract watercolor painting features a main phallic form that opens up into a soft dome. Inside it is painted black with six light pink rays shooting out. The phallic shape is painted inside of a grey circle with other geometric shapes flanking its side in neat rows of three.
Hilma af Klint, Tree of Knowledge No. 4, 1913–15; Image courtesy of David Zwirner

ARTnews describes the acquisition as “a landmark event” and notes that it is rare for the artist’s works to hit the market—partially due to af Klint’s request that only full series be bought, not individual paintings. “Tree of Life” is on view at David Zwirner, London, from March 2–April 2, before heading to its new home in Maryland.

Front-Page Femmes:

Pioneering Cuban American abstract artist Carmen Herrera has died at age 106.

Jordanian artist Mona Saudi, whose modern sandstone sculptures were seen worldwide, has died at age 76.

The 2022 Met Gala exhibition will feature commissioned cinematic vignettes created by top film directors including Janicza Bravo, Sofia Coppola, Julie Dash, Regina King, Autumn de Wilde, and Chloé Zhao.

At the 2022 Berlin Film Festival, women dominated headline awards—two best film prizes went to female directors, while both acting awards, which are gender-neutral, went to women, as did the best director award.

The New Yorker interviews rock-and-roll icon Stevie Nicks, who talks about her songwriting process, artist Sulamith Wülfing’s tarot deck, her friendship with bandmate Christine McVie, and more.

A black-and-white photograph featuring two light-skinned women with blonde hair seemingly on stage performing at a concert. One holds a drumstick over a drum, while the other holds a drumstick over a handheld xylephone. They stand close together, leaning their heads towards one another. One gazes adoringly at the other, who smiles slightly and looks down. Their clothing and hair are in styles from the 1970s.
Christine McVie and Stevie Knicks performing together; Photo by Rick Diamond / Getty

The Philbrook Museum of Art in Tulsa, Oklahoma, has acquired Marisol’s sculpture Magritte II (1998), a rendering of the Surrealist artist René Magritte. The work is now on view.

ARTnews profiles Nigerian artist Ifeyinwa Joy Chiamonwu on the occasion of her exhibition Genesis, on view at New York City’s Jack Shainman Gallery.

The Guardian celebrates Graciela Iturbide, who will turn 80 this year, with a roundup of the artist’s poetic photographs.

For Washington, D.C.’s forthcoming 11th Street Bridge Park, mother-daughter duo Martha Jackson Jarvis and Njena Surae Harvis will install a series of 11 multi-colored sculptural arches.

For Art in America, María Esther Fernández, artistic director of the Cheech Marin Center for Chicano Art & Culture, writes about creating a nexus for Chicanx art and research.

The Guardian profiles Warsan Shire, whose new poetry collection melds verse and reportage to capture voices of the Somali diaspora.

Shows We Want to See:

At the SculptureCenter in Long Island City, New York, Liz Larner: Don’t put it back like it was is the artist’s largest survey since 2001, presenting more than 30 years of work. Featured works include Larner’s early experiments with bacterial cultures and machines, installations that respond to architecture, sculptures that reconsider figuration, and recent ceramic works. Artnet interviewed the artist. On view through March 28.

A large, soft sculpture comprises three wormlike structures laid on top of each other in various angles. Their outer material is leather painted deep shades of brown. They are displayed against a white background and floor.
Liz Larner, No M, No D, Only S & B, 1990; Sand, stone, bark, painted leather; 13 x 16 x 80 in.; Image courtesy of the Walker Art Center, Minneapolis; T. B. Walker Acquisition Fund

At London’s Institute of Contemporary Art, Decriminalised Futures presents interdisciplinary works by 13 international artists who address the experiences of contemporary sex workers. The portraits, embroidery, books, and sculptures present various feminist and intersectional perspectives on sex work and issues faced by sex workers, people of color, trans people, migrants, and disabled people. Artnet profiled the show. On view through May 22.

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